Julie Sanders – författare

This collection of multi-authored essays not only refashions and revises critical understandings of the early modern dramatist Ben Jonson and his canon of work, but is also self-reflexive about the process. It includes original essays by both established and emergent Jonson scholars, and employs materialist, feminist and queer theory in the production of its readings of Jonsonian playtexts and masques, familiar and otherwise. It is intended to encourage new approaches by students to this central figure from the Renaissance.

Bringing together a group of established and emergent Jonson scholars, this volume reacts to major advances in thinking about the writer and his canon of works. The study is divided into two distinct parts: the first considers the Jonsonian career and output from biographical, critical, and performance-based angles; the second looks at cultural and historical contexts building on rich interdisciplinary work. Social historians work alongside literary critics to provide a diverse and varied account of Jonson. These are less standard surveys of the field than vibrant interventions into current critical debates. The short-essay format of the collection seeks less to harmonize and homogenize than to raise awareness of new avenues of research on Jonson, including studies informed by book history, cultural geography, the law and legal discourse, the history of science and interests in material culture.

This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays – John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure – available together in a full scholarly edition for the first time.The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration.The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture.

This is an exciting collection of essays on the rule of Charles I at a time of fundamental importance to English history. It combines the work of historians with academics from literary studies to provide an interdisciplinary examination of the culture and political life of the decade. The chapters focus on issues in politics, religion, the monarchy and culture, as well as literature and art history. Essays examine everything from the King’s correspondence to the role of consort queens at court and opposition to the King in libel, satire and on the stage.Many historians assert that it was Charles's inept and dangerous policy of ‘personal rule’ which was responsible for putting the country on the road to civil war. This book will be invaluable for students and lecturers seeking to better understand the causes of the conflict.

This is a study of the rich and diverse range of musical responses to Shakespeare that have taken place from the seventeenth century onwards. Written from a literary perspective, the book explores the many genres and contexts in which Shakespeare and his work have enjoyed a musical afterlife discussing opera, ballet, and classical symphony alongside musicals and film soundtracks, as well as folk music and hip-hop traditions. Taking as its starting point ideas of creativity and improvisation stemming from early modern baroque practices and the more recent example of twentieth-century jazz adaptation, this volume explores the many ways in which Shakespeares plays and poems have been re-worked by musical composers. It also places these cultural productions in their own historical moment and context.Adaptation studies is a fast emerging field of scholarship and as a contribution to this field, Shakespeare and Music: Afterlives and Borrowings: develops theories and practices from adaptation studies to think about musical responses to Shakespeare across the centuries brings together in an exciting intellectual encounter ideas and methodologies deriving from literary criticism, theatre history, film studies, and musicology explores music in its widest context, looking at classical symphonies including the work of Berlioz and Elgar and operas by Verdi and Britten as well as Broadway musicals, film scores by Shostakovich, Walton, and contemporary performers, and the jazz adaptations of Duke Ellington and others. This is a timely study that will appeal to a wide readership from lovers of Shakespeare and classical music through to students of film and historians of the theatre.

This is a study of the rich and diverse range of musical responses to Shakespeare that have taken place from the seventeenth century onwards. Written from a literary perspective, the book explores the many genres and contexts in which Shakespeare and his work have enjoyed a musical afterlife discussing opera, ballet, and classical symphony alongside musicals and film soundtracks, as well as folk music and hip-hop traditions. Taking as its starting point ideas of creativity and improvisation stemming from early modern baroque practices and the more recent example of twentieth-century jazz adaptation, this volume explores the many ways in which Shakespeares plays and poems have been re-worked by musical composers. It also places these cultural productions in their own historical moment and context.Adaptation studies is a fast emerging field of scholarship and as a contribution to this field, Shakespeare and Music: Afterlives and Borrowings: develops theories and practices from adaptation studies to think about musical responses to Shakespeare across the centuries brings together in an exciting intellectual encounter ideas and methodologies deriving from literary criticism, theatre history, film studies, and musicology explores music in its widest context, looking at classical symphonies including the work of Berlioz and Elgar and operas by Verdi and Britten as well as Broadway musicals, film scores by Shostakovich, Walton, and contemporary performers, and the jazz adaptations of Duke Ellington and others. This is a timely study that will appeal to a wide readership from lovers of Shakespeare and classical music through to students of film and historians of the theatre.

This is a study of the rich and diverse range of musical responses to Shakespeare that have taken place from the seventeenth century onwards. Written from a literary perspective, the book explores the many genres and contexts in which Shakespeare and his work have enjoyed a musical afterlife discussing opera, ballet, and classical symphony alongside musicals and film soundtracks, as well as folk music and hip-hop traditions.

Taking as its starting point ideas of creativity and improvisation stemming from early modern baroque practices and the more recent example of twentieth-century jazz adaptation, this volume explores the many ways in which Shakespeares plays and poems have been re-worked by musical composers. It also places these cultural productions in their own historical moment and context.

Adaptation studies is a fast emerging field of scholarship and as a contribution to this field, Shakespeare and Music: Afterlives and Borrowings:

develops theories and practices from adaptation studies to think about musical responses to Shakespeare across the centuries brings together in an exciting intellectual encounter ideas and methodologies deriving from literary criticism, theatre history, film studies, and musicology explores music in its widest context, looking at classical symphonies including the work of Berlioz and Elgar and operas by Verdi and Britten as well as Broadway musicals, film scores by Shostakovich, Walton, and contemporary performers, and the jazz adaptations of Duke Ellington and others.

This is a timely study that will appeal to a wide readership from lovers of Shakespeare and classical music through to students of film and historians of the theatre.

Caroline Drama takes as its focus the public theatre playwriting of Philip Massinger, John Ford, James Shirley and Richard Brome between 1625 and 1642. It brings into clear focus for those unfamiliar with these playwrights a neglected period of writing. Setting their plays within a social and political context, Julie Sanders reveals their concern with issues of community and hierarchy in the decades leading up to the English Civil Wars. By exploring a range of plays of each writer, she explores both their continuities and their differences, as well as examining their particular choices of subject matter, language, and theatrical strategy. The value of Caroline Drama as a whole becomes clear as a result of this study.

This introduction to the core areas of English Literature is combined with a helpful study skills guide. It provides students with the knowledge and essential skills to communicate effectively and participate fully in their degree course. Written in a lucid manner by two experienced lecturers in the subject, the book places special emphasis on what it will feel like to adjust to new environments and new intellectual expectations. Get Set for English Literature* Demonstrates the richness of studying English Literature.* Outlines the forms of learning and teaching from the lecture to individual supervision.* Describes specific courses in English Literature, from Shakespeare to contemporary fiction, including literary criticism and literary theory.* Introduces key study skills such as reading, getting the most from lectures and tutorials, time management, essay writing and assessment.* Includes a guide to further reading.

At the heart of this book is a previously unpublished account of Ben Jonson's celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson's contacts throughout Britain, his celebrity status, and the relationships between his 'foot voyage' and other famous journeys of the time. The essays also illuminate wider issues, such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography.

Literary geographies is an exciting new area of interdisciplinary research. Innovative and engaging, this book applies theories of landscape, space and place from the discipline of cultural geography within an early modern historical context. Different kinds of drama and performance are analysed: from commercial drama by key playwrights to household masques and entertainment performed by families and in semi-official contexts. Sanders provides a fresh look at works from the careers of Ben Jonson, John Milton and Richard Brome, paying attention to geographical spaces and habitats like forests, coastlines and arctic landscapes of ice and snow, as well as the more familiar locales of early modern country estates and city streets and spaces. Overall, the book encourages readers to think about geography as kinetic, embodied and physical, not least in its literary configurations, presenting a key contribution to early modern scholarship.

Engaging and stimulating, this Introduction provides a fresh vista of the early modern theatrical landscape. Chapters are arranged according to key genres (tragedy, revenge, satire, history play, pastoral and city comedy), punctuated by a series of focused case studies on topics ranging from repertoire to performance style, political events to the physical body of the actor, and from plays in print to the space of the playhouse. Julie Sanders encourages readers to engage with particular dramatic moments, such as opening scenes, skulls on stage or the conventions of disguise, and to apply the materials and methods contained in the book in inventive ways. A timeline and frequent cross-references provide continuity. Always alert to the possibilities of performance, Sanders reveals the remarkable story of early modern drama not through individual writers, but through repertoires and company practices, helping to relocate and re-imagine canonical plays and playwrights.

Literary geographies is an exciting new area of interdisciplinary research. Innovative and engaging, this book applies theories of landscape, space and place from the discipline of cultural geography within an early modern historical context. Different kinds of drama and performance are analysed: from commercial drama by key playwrights to household masques and entertainment performed by families and in semi-official contexts. Sanders provides a fresh look at works from the careers of Ben Jonson, John Milton and Richard Brome, paying attention to geographical spaces and habitats like forests, coastlines and arctic landscapes of ice and snow, as well as the more familiar locales of early modern country estates and city streets and spaces. Overall, the book encourages readers to think about geography as kinetic, embodied and physical, not least in its literary configurations, presenting a key contribution to early modern scholarship.

Bringing together a group of established and emergent Jonson scholars, this volume reacts to major advances in thinking about the writer and his canon of works. The study is divided into two distinct parts: the first considers the Jonsonian career and output from biographical, critical, and performance-based angles; the second looks at cultural and historical contexts building on rich interdisciplinary work. Social historians work alongside literary critics to provide a diverse and varied account of Jonson. These are less standard surveys of the field than vibrant interventions into current critical debates. The short-essay format of the collection seeks less to harmonize and homogenize than to raise awareness of new avenues of research on Jonson, including studies informed by book history, cultural geography, the law and legal discourse, the history of science and interests in material culture.

Engaging and stimulating, this Introduction provides a fresh vista of the early modern theatrical landscape. Chapters are arranged according to key genres (tragedy, revenge, satire, history play, pastoral and city comedy), punctuated by a series of focused case studies on topics ranging from repertoire to performance style, political events to the physical body of the actor, and from plays in print to the space of the playhouse. Julie Sanders encourages readers to engage with particular dramatic moments, such as opening scenes, skulls on stage or the conventions of disguise, and to apply the materials and methods contained in the book in inventive ways. A timeline and frequent cross-references provide continuity. Always alert to the possibilities of performance, Sanders reveals the remarkable story of early modern drama not through individual writers, but through repertoires and company practices, helping to relocate and re-imagine canonical plays and playwrights.

Engaging and stimulating, this Introduction provides a fresh vista of the early modern theatrical landscape. Chapters are arranged according to key genres (tragedy, revenge, satire, history play, pastoral and city comedy), punctuated by a series of focused case studies on topics ranging from repertoire to performance style, political events to the physical body of the actor, and from plays in print to the space of the playhouse. Julie Sanders encourages readers to engage with particular dramatic moments, such as opening scenes, skulls on stage or the conventions of disguise, and to apply the materials and methods contained in the book in inventive ways. A timeline and frequent cross-references provide continuity. Always alert to the possibilities of performance, Sanders reveals the remarkable story of early modern drama not through individual writers, but through repertoires and company practices, helping to relocate and re-imagine canonical plays and playwrights.

Engaging and stimulating, this Introduction provides a fresh vista of the early modern theatrical landscape. Chapters are arranged according to key genres (tragedy, revenge, satire, history play, pastoral and city comedy), punctuated by a series of focused case studies on topics ranging from repertoire to performance style, political events to the physical body of the actor, and from plays in print to the space of the playhouse. Julie Sanders encourages readers to engage with particular dramatic moments, such as opening scenes, skulls on stage or the conventions of disguise, and to apply the materials and methods contained in the book in inventive ways. A timeline and frequent cross-references provide continuity. Always alert to the possibilities of performance, Sanders reveals the remarkable story of early modern drama not through individual writers, but through repertoires and company practices, helping to relocate and re-imagine canonical plays and playwrights.

At the heart of this book is a previously unpublished account of Ben Jonson's celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson's contacts throughout Britain, his celebrity status, and the relationships between his 'foot voyage' and other famous journeys of the time. The essays also illuminate wider issues, such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography.

The essays in this volume challenge current 'givens' in medieval and early modern research around periodization and editorial practice. They showcase cutting-edge research practices and approaches in textual editing, and in manuscript and performance studies to produce new ways of reading and working for students and scholars.

The essays in this volume challenge current ''givens'' in medieval and early modern research around periodization and editorial practice. They showcase cutting-edge research practices and approaches in textual editing, and in manuscript and performance studies to produce new ways of reading and working for students and scholars.

From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores:multiple definitions and practices of adaptation and appropriationthe cultural and aesthetic politics behind the impulse to adaptthe global and local dimensions of adaptationthe impact of new digital technologies on ideas of making, originality and customizationdiverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of artthe impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studiesthe appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores:multiple definitions and practices of adaptation and appropriationthe cultural and aesthetic politics behind the impulse to adaptthe global and local dimensions of adaptationthe impact of new digital technologies on ideas of making, originality and customizationdiverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of artthe impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studiesthe appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

At the heart of this book is a previously unpublished account of Ben Jonson''s celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson''s contacts throughout Britain, his celebrity status, and the relationships between his ''foot voyage'' and other famous journeys of the time. The essays also illuminate wider issues, such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography.

At the heart of this book is a previously unpublished account of Ben Jonson''s celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson''s contacts throughout Britain, his celebrity status, and the relationships between his ''foot voyage'' and other famous journeys of the time. The essays also illuminate wider issues, such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography.

From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores:multiple definitions and practices of adaptation and appropriationthe cultural and aesthetic politics behind the impulse to adaptthe global and local dimensions of adaptationthe impact of new digital technologies on ideas of making, originality and customizationdiverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of artthe impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studiesthe appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores:multiple definitions and practices of adaptation and appropriationthe cultural and aesthetic politics behind the impulse to adaptthe global and local dimensions of adaptationthe impact of new digital technologies on ideas of making, originality and customizationdiverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of artthe impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studiesthe appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

This collection of multi-authored essays not only refashions and revises critical understandings of the early modern dramatist Ben Jonson and his canon of work, but is also self-reflexive about the process. It includes original essays by both established and emergent Jonson scholars, and employs materialist, feminist and queer theory in the production of its readings of Jonsonian playtexts and masques, familiar and otherwise. It is intended to encourage new approaches by students to this central figure from the Renaissance.

This collection of multi-authored essays not only refashions and revises critical understandings of the early modern dramatist Ben Jonson and his canon of work, but is also self-reflexive about the process. It includes original essays by both established and emergent Jonson scholars, and employs materialist, feminist and queer theory in the production of its readings of Jonsonian playtexts and masques, familiar and otherwise. It is intended to encourage new approaches by students to this central figure from the Renaissance.

The essays in this volume challenge current 'givens' in medieval and early modern research around periodization and editorial practice. They showcase cutting-edge research practices and approaches in textual editing, and in manuscript and performance studies to produce new ways of reading and working for students and scholars.